70-61

Criteria of a Top 100 Scene

70

He’s got this dead streak in him

Carmela tosses and turns over AJ’s issues, and Meadow announces she’s moving to California

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Upon discovering AJ got fired from Blockbustah, Carmela turns the light on and awakens Tony as she grapples with the ever haunting question: why is AJ the way he is?

Carmela: “It’s not only that he’s a complete stranger to the truth, he’s got this dead streak in him.” 

Tony: “He’s fuckin’ spoiled, that’s all. We gave him too much.” 

Carmela: “Come on, he went to school with lots of privileged kids. Most of them are off at Ivy League universities now doing very well. No, this is something in him. Deep down it’s like this big ‘fuck you’ to everything.”

Tony: “I don’t know what that’s about.” 

Carmela: “Remember that whole God is dead business on the day of his confirmation?”

Carmela creeps toward the answer the writers are throwing right in our face: Livia. Of all the characters drowned by denial and thoroughly warped principles, Livia may be the biggest stranger to the truth of all. So, the “dead streak” and “this big ‘fuck you’ to everything” chillingly and unmistakably juxtapose AJ with his grandmother. Carmela’s callback to his confirmation in “D-Girl” is especially key as the Season 2 episode confronts the turning point of AJ’s arc, fueled by his hospital visit to Livia. There, she warns him “why does everything have to have a purpose? The world is a jungle. If you want my advice, Anthony, don’t expect happiness. You won’t get it, people let you down. And I’m not naming any names, but in the end, you die in your own arms…It’s all a big nothing. What makes you think you’re so special?” Well, Carmela, this just might be how and why your son plummets into a “bottomless blackhole” (a metaphor Tony employs to compare Gloria Trillo to Livia in Season 3’s masterpiece, “Amour Fou”).

Next, Meadow comes in and “drops this bomb” on her parents that she’s moving to California with Finn indefinitely. The prospect of Meadow moving to California calls back to “Full Leather Jacket” (the direct episode after “D-Girl”), where Carmela did everything in her power to keep Meadow away from Berkeley and on the East Coast. As part of her explanation for the California move, Meadow contemplates “I don’t know if I want to go to law school or med school” to which Carmela replies “Those are nice options to have. That’s what we call a high class problem.” Immediately, the camera pans to AJ who’s just been fired from Blockbuster (First stop on the shitbird express” as described by Tony to Melfi), eavesdropping in defeat and helplessness as he’s reminded how he pales in comparison to Meadow, the superior Soprano child. All the while, The Sopranos continues to develop what eventually culminates in Tony and Carmela’s biggest failure as parents: their daughter going into (white collar) law.

Additional Notes: 

1. Tony quickly responds “I don’t know what that’s about” when Carmela suggests a “dead streak” inside AJ. It sounds like Tony’s just trying to shut her up so he can sleep, but he’s deflecting because knows the answer is Livia (coupled, of course, with himself).
2. Good thing Carmela doesn’t connect the dots to Livia, because then she’d exonerate herself and place all the blame on her mother in law (not that she takes much parental accountability as it is). 
3. Think back to Carmela’s fear of Meadow going out west in “Full Leather Jacket.” She threw Berkeley’s transcript notice to Meadow in the trash, and threatened Jeannie Cusamano’s twin sister into writing a letter to Georgetown. She really did not want Meadow going all the way across the country. 
4. Carmela responds to Meadow’s California news with “I thought you two were having problems.” While a reasonable inquiry, Edie Falco delivers it in perfect “mom” fashion.

69

He’s a Good Man, Basically

Father Obosi gives Carmel what she craves: the easy way out

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The Scene

Since Carmela’s $50,000 highway robbery at the end of Second Opinion, her relationship with Tony has been relatively smooth. But now, AJ has been teetering on expulsion, and Tony has discreetly begun his most notorious extramarital affair of the series, going so far as to ditch Carmela and his in-laws for dinner at Gloria’s despite the fact that Carmela’s “fawthuh has glaucoma.” But alas, there’s been no real bumps in the relationship. So, why the abrupt moral crisis five episodes later? Because Carmela has once again been confronted with God’s wrath.

In light of Carmela’s rude awakening in Dr. Krakower’s office, she’s never been more sensitive to the correlation between her sins and her supposed punishments. Frightened that her sudden symptoms might indicate ovarian cancer, she desperately seeks out God’s mercy through confession with Father Obosi per Father Intintola’s advice. When Carmela mentions Dr. Krakower demanded she divorce Tony, Fr. Obosi immediately rejects the prospect, noting that she “made a sacred vow.” Instead, he advises Carmela to find a middle ground: “There’s a point inside yourself, an inner boundary beyond which you feel culpable. You’ve got to come to an awareness of where that line is and forego those things which lay without it…Learn to live on the good part. Promptly, Carmela covers the blue ring Tony just gifted her. Nevertheless, relief floods through Carmela’s veins when she gets the answer she wants. Carmela recites Fr. Obosi’s instructions: “‘Learn to live on the good part, forego those that lay without it.’ I think I can do that, Father.” (Fast forward nine episodes to “Mergers and Acquisitions” when she literally takes Tony’s money from the backyard).

Additional Notes

1. Fr. Obosi asks if Tony is abusive, to which Carmela replies “Not to me, but he is unfaithful. He’s a good man, basically, but I talked to Father Intintola about all this years ago and here I still am.” First, “he’s a good man, basically” is Carmela Rationalization in a nutshell. It’s classic. Second, she implicitly reveals that although he’s not physically abusive to her, he is to (countless) others.
2. Carmela got the answer she needed from a (Jewish) authority figure in “Second Opinion.” In “Amour Fou,” she got the answer she wanted from a (Catholic) authority figure. In a way, I can relate to Carmela. When I struggle with a decision or dilemma, and someone I trust (not necessarily an authority figure, but the same idea) gives me the answer I need but don’t want, it feels quite dooming. But, when another trustworthy person gives me the answer I want, I feel relieved.
3. After reciting Father Obosi’s instructions, Carmela declares “I think I can do that, Father.” As she says this, she smiles (or smirks?). Perhaps I’m over thinking this (I don’t think I am, we know Carmela too well), but the suspicious smile appears to be Carmela’s way of conveying “that was too easy.”

68

You don’t know me! Alright, you don’t know anything about me!

Desperately, AJ demonstrates just how much he craves Tony’s love and attention

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The Scene

Season 6A and 6B focus heavily on the Tony and AJ dynamic. While AJ wimping out in an attempt to stab his great uncle to death can very well make the audience cackle at yet another display of Anthony Jr. simply being pathetic, the “why” behind AJ’s motives are palpable as he defends his stupidity. AJ has always failed to live up to his father’s expectations. Ever self-loathing, Tony resents AJ for their differences, but also detests him for their similarities.

AJ is not a stereotypical tough guy like Tony, and cries plenty of times throughout the series: when he tries on his military uniform, when he comes face to face with a bear (a bear that’s supposed to represent Tony, so AJ’s reaction could symbolize how fearfully he lives in Tony’s shadow), when Blanca blows him off at the construction site, in this very scene, etc. Meanwhile, Tony limits his crying within the safe space of therapy. 

1. AJ has zero street smarts: he doesn’t know what gutters are, he smokes pot like an “animal at his own confirmation” (at least 14 year old Tony would’ve been discreet), and pees during his test answer heist before immediately falling for the principal’s urine sample trap.
2. AJ is open minded and explores free thinking (or as Tony would say “liberal bullshit?”): he curiously doubts God’s existence and questions humankind’s purpose, researches truths about Columbus, and insists “we have to break our dependence on foreign oil.” 
3. Conversely, the two are quite similar, as both are the anti-Gary Cooper, lacking both strength and silence: both have depression accompanied by panic attacks, and Tony goes so far as to complain to Melfi that AJ “hits one little pothole and goes into hysterics,” only for Melfi to point out Tony does the same. With the Tony and AJ Venn diagram finally out of the way, let’s dive into Tony’s rescue of AJ from an attempted murder charge.

The Soprano parents spoil their kids like no other and are allergic to handing out discipline. Meadow defends a reckless, vomit-flooded shit show at Livia’s with “I could’ve taken ecstasy but I didn’t!” and gets a three week Discover card ban. After AJ’s fist fight with Jeremy Piocosta in “Meadowlands,” Carmela does nothing more than charge him for his ripped shirt. So, naturally, AJ feels he can whine about an upset stomach as he escapes an attempted murder charge. Fierce as ever, Tony responds to AJ’s whining by throwing him up against the car, screaming and spitting everywhere like we’ve never seen from Tony. When Tony denounces vengeful murder, AJ exclaims “what?!” at Tony’s hypocrisy:

AJ: “You don’t know me, alright you don’t know anything about me!”

Tony: “You’re a nice guy! And that’s a good thing for Chrissake’s!”

AJ: “Bullshit!”

Tony: “I mean it. You’re a good guy, I’m very grateful.”

AJ: “Well you’re a fuckin hypocrite. Alright cause every time we watch Godfather, when Michael Corleone shoots those guys at the restaurant! Those assholes who tried to kill his dad! You sit there with your fuckin’ bowl of ice cream and you say it’s your favorite scene of all time!”

Tony: “Jesus Christ AJ, I mean you make me wanna cry. It’s a movie. You gotta grow up. You’re not a kid anymore. You hear me? You gotta grow up.”

As AJ wails and compares himself to Michael Corleone, his emotion comes off as a confession- a confession that he’s so desperate to impress his dad, or at least get his attention. And, in light of Tony’s constant disregard for his son, AJ overcompensates and pussyfoots into a loony bin with a knife.  

Additional Notes:

1. Robert Iler’s acting is great here, but this is one of Gandolfini’s A+ displays. When AJ screams “fuck you!” Tony grows so livid that his volume decreases as he clenches his teeth and growls “I oughta break your fuckin’ neck!” It is absolutely awesome. 
2. Tony’s being genuine- he’s certainly relieved AJ’s good nature doesn’t align with his own. But, the shame of it is that it takes drastic events like this for Tony to demonstrate his gratitude for AJ. Another classic example is Tony’s apology to AJ after screaming at AJ for overreacting (not like that’s Tony’s favorite pastime or anything) and admitting AJ’s an embarrassing excuse for a “male heir.” 
3. Tony says The Godfather is just a movie…but in Tony’s world, is it?

67

That Was Not a Marriage Made in Heaven

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The Scene

Tony returns home the morning after his suspicious phone call and abrupt departure (“You better get it, maybe she slit the other wrist”), and delivers an uncharacteristically candid explanation:

Tony: “Richie’s gone.” 

Carmela: “What do you mean ‘gone?’”

Tony: “Gone.”

Carmela: “Where?”

Tony: “Carmela after 18 years of marriage, don’t make me make you an accessory after the fact.” 

Carmela: “Holy shit.”

Tony: “Stop asking.” 

Carmela: “Oh my god. Oh my god.” 

Tony: “I took care of it.”

Carmela: “That was not a marriage made in heaven.”

It’s uncharacteristic for Tony to speak to Carmela directly about murder. I suppose Tony told Carmela the truth because 1) he didn’t commit the murder 2) Carmela was already involved once Tony left abruptly and returned with a five o’clock shadow and 3) Carmela was eventually going to inquire about Richie’s absence and broken engagement. 

It’s one of Carmela’s more damning moments, as her husband’s role as a murder “accessory” is made abundantly apparent to her. But, it gets even more damning for Carmela. First, she rationalizes her sister-in-law murdering her fiancé with “that was not a marriage made in heaven” (he also happens to be the brother of her husband’s late best friend/brother-in-law to her best friend). This, of course, puts her own cursed marriage on a pedestal, as hers just happens to exclude face punches and gunshots.

Next, she seizes the opportunity to make a vintage Soprano marriage transaction; now that Tony’s infidelity has trickled into Casa Soprano, Carmela’s got the leverage to walk all over her exposed husband. So, she announces she’s going to Rome with Rosalie for three weeks, leaving Tony with the soccer mom responsibilities “because if I have to do it Tony, I just might commit suicide.” Carmela’s mic drop is SO funny and it leaves Tony absolutely dumbfounded. I’ve watched this scene dozens of times, but until my preparation for this write-up, I had not made the following two hilarious (and significant) realizations:

• Carmela prepared for and calculated this transaction 

• Carmela prepared, and likely rehearsed, her sarcastic mic drop

Carmela’s quite clever, but her trip to Italy doesn’t repair the marital anguish she constantly endures (“Whose idea was Whitecaps?” “It’s just another version of an emerald ring”). Not only is Carmela compensated for Irina’s call to her home (next episode, she gets a fur coat), but her end of the transaction genuinely helps her cope with Tony treating her like a piece of shit. 

Additional Notes

1. Carmela as an “accessory after the fact” is a damning foreshadow to Krakower’s assessment of Carmela as an “accomplice” and “enabler” in “Second Opinion.”
2. Edie Falco is stellar in this scene, particularly the moment it hits her that Janice killed Richie.
3. Regarding Tony and Carmela’s explicit conversations about murder: In the Season 1 Finale, Tony made quite a direct remark to Carmela about whacking Mikey Palmice and Uncle Junior after the failed hit. It’s so uncharacteristic that, like countless other Sopranos elements and decision making, it’s specifically unique to Season 1, to the point where it’s a David Chase decision that would never exist outside of Season 1…unless you’re watching one of the series’ most iconic and epic episodes, The Knight in White Satin Armor. The difference between these two examples is that this time, Tony makes it clear he wasn’t behind the killing.
   • In Blue Comet, Tony of course informs Carmela of Bobby’s death, but he doesn’t really have any other option.

66

I was involved with that?

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The Scene

After two full seasons, Tony once again lays eyes on his shooter, who has just been wheeled to a corner of his state psychiatric ward’s depressingly bleak, barren common area to stare aimlessly out a window. Completely dazed by the sight of Uncle Junior after all this time, (not to mention, in these conditions), it’s not until the third “sir” that an orderly gets Tony’s attention to unblock the doorway. Tony tries to guilt Junior about the shooting, until Tony soon realizes Junior hardly recognizes him- “I’m Anthony, Johnny’s Son.” “Fuck you want, a bouttonierre?” Aside from any sort of final goodbye or closure Tony may seek from Junior (having just confirmed with his lawyer that prison may be imminent), Tony visits Junior in light of a warning from Uncle Pat: Janice tried to “inveigle” Junior into giving his fortune (if there even is one) to her. So, Tony directs the money to Bobby’s kids (“…Bobby was with us. He’s a made guy. Wouldn’t be right.”) Tony, struggling to come to terms with how far gone Junior is, tries again: “Remember Johnny? Johnny Boy, your kid brother?” With Junior remaining lost, Tony leans in and whispers a chilling bow on David Chase’s masterpiece: “this thing of ours.”

Junior: “I was involved with that?”

Tony: “You and my dad. You two ran North Jersey.”

Junior: “We did?”

Tony: “Yeah.”

Junior: “Hmmm. Well that’s nice.”

Reminders of Uncle Pat, Janice, Bobby Bacala and his kids, “I’m Anthony, Johnny’s son!” and “Remember Johnny? Johnny Boy? Your kid brother?” leave Junior blank-faced. Rather, the mention of these characters’ life’s work elicits a level of sincere acknowledgement and understanding from Junior. Junior’s reaction masterfully mirrors Tony’s words to Christopher and Eugene as they made their bones in “Fortunate Son”: “This Family comes before everything else. Everything. Before your wife and your children and your mother and your father. It’s a thing of honor.” Tony uttering “this thing of ours” as a last resort attempt to connect with Junior serves as an absolutely perfect bow on the show. These characters eat, sleep, and breathe denial. But here, in the final six minutes of the series, our anti-hero verbally acknowledges The Mafia and all that comes with it.

Additional Notes:

1. In response to Tony mentioning Bobby’s kids, Junior replies “Me, I never had kids,” and accentuates the grim exit of Corrado Soprano and his miserable, lonely life.
2. Junior, lost and alone, concludes his remarkably tragic downfall. In the pilot, he was Tony’s equal. Three episodes later, he (thought he) was boss. For the middle bulk of the series, he dodged prison, but deteriorated under house arrest until he literally lost his mind…leading him to a high end psychiatric ward in Wyckoff. Finally, he ran out of cash, and was downgraded to a state facility. The Holsten’s scene, above all else, reinforces how things will not end well for Tony (or anyone in “this thing of ours”), regardless of the cut to black’s implications. Tony finding Junior in this condition perfectly resembles a form of rock bottom that Tony will imminently plummet to.
3. Tony craved love from his elders, Livia and Junior. While he got plenty more from Junior, the final words of Season 5’s “Where’s Johnny” are Tony asking a slipping Junior “I mean, don’t you love me?” In both “Where’s Johnny” and the series finale, a demented Junior keeps Tony wondering.   
4. As Tony first confronts Junior and comes to understand his state of mind, Tony has an internal, unintentional moment of forgiveness where he realizes that perhaps the shooting truly was just a product of Alzheimer’s and nothing more. 
5. The complete deterioration of Junior’s mind also means the official severing of Tony’s relationship with his uncle- the last of Tony’s many severed relationships in Season 6B. 
6. The Sopranos, as always, meticulously develops its plot. In a weaker show/story, the writers would just throw Junior for the audience to bid farewell, and leave it to infer that Tony simply seeks closure. Chase backs Tony’s need for closure with a specific reason for Tony to visit Junior (prevent Janice’s greedy scheme) rather than “just because.” Things don’t just happen in The Sopranos, there’s always a reason. 
7. The audience’s (and Tony’s) farewell to Junior (directly followed by the infamous Holsten’s dinner with Tony and his family) proves the perfect penultimate Sopranos scene, as the final moments of each season finale center around Tony with his family:
   • Season 1: “I Dream of Jeannie Cusamano” – Tony toasts with his immediate family at Vesuvio, segueing into Bruce Springsteen’s State Trooper to close out Season 1
   • Season 2: “Funhouse” – The concluding montage captures Tony posing for a picture with his family at Meadow’s high school graduation party
   • Season 3: “Army of One” – After Meadow drunkenly tells off Tony (in so many words) and runs off to Columbia, Tony stands with Carmela and holds a tight grip on AJ (whose mirror character was just buried) as they watch Junior’s Italian singing
   • Season 4: “Whitecaps” –  Tony hugs his emotional kids as he moves out. He then disrupts the Sapinsleys (and maybe even their marriage, at this point) by having Benny and Little Paulie blast Dean Martin outside their beach house
   • Season 5: “All Due Respect” – Tony treks through the woods from the Sacrimoni household, and Carmela opens the door for him. The bear has returned, calling back to the season’s premiere. 
   • Season 6A: “Kaisha” – Tony hosts his extended family on Christmas Eve.
   • Season 6B: Tony and Uncle Junior → Tony, Carmela, and AJ await Meadow.